Diamonds Are Forever (United Kingdom, 1971)

A movie review by James Berardinelli

Released in 1971, Diamonds Are Forever was Sean Connery's final "official" turn as James Bond
(although he eventually starred in Never Say Never Again, 1983's Thunderball remake). After skipping On Her Majesty's Secret Service, Connery was lured back to the 007 role by an extremely lucrative offer that made him the highest-paid actor at the time. His presence, in addition to a few typically-energetic action sequences, is about the only thing that makes this film worthwhile, however. By the time Diamonds Are Forever was produced, the series had begun to
slip into the stagnancy that would mar Roger Moore's first two outings, Live and Let Die and The Man with the Golden Gun.

For this outing, most of the behind-the-scenes crew from Goldfinger was reassembled, probably with the hope of
duplicating the 1964 film's success. Guy Hamilton again directed, Ted Moore wore the cinematographer's
cap, and mainstays Richard Maibaum (screenplay) and John Barry (score) continued their association
with the series. Shirley Bassey, who belted out "Goldfinger", returned to lend her vocal gifts to the title song. Unfortunately, Diamonds Are Forever's script deficiencies precluded a film of comparable quality to Goldfinger.

The seventh Bond movie opens with the British agent seeking out his chief nemesis, Blofeld (Charles
Gray), to exact revenge for the murder of his wife, Tracy (she was shot during the final scene of On
Her Majesty's Secret Service). After dispatching Blofeld, 007 accepts an assignment to investigate
diamond smuggling. Impersonating a smuggler, he travels from Amsterdam to Las Vegas with fifty
thousand carats of stones for reclusive multi-millionaire Willard Whyte (Jimmy Dean). No one knows
why Whyte is stockpiling diamonds, but everyone who gets involved in the smuggling operation ends up
dead. Joining forces with old pal Felix Leiter (Norman Burton) and "free agent" Tiffany Chase (Jill St.
John), who's also after the diamonds, Bond penetrates Whyte's private apartments only to receive a very
nasty surprise.

Diamonds Are Forever is plagued with problems. After a promising start, the story devolves into
idiocy. The parts about diamond smuggling and a rich eccentric hiding out in a hotel penthouse are fine,
but as soon as the script introduces Blofeld's double and a laser-shooting satellite, things become
laughably absurd, even for a Bond movie. The space-based science fiction elements, which are on the
same level as those in You Only Live Twice, aren't handled nearly as well as in a pair of later entries, Moonraker and
Goldeneye. The ending is anticlimactic, with all of Blofeld's megalomaniacal plans foiled by the simple expediency of stealing a cassette tape.

Connery's presence elevates the movie to a remarkably high level, but that's no surprise. His Bond is
definitive -- a pleasure to watch even in a sub-par film. It's easy to like Diamonds Are Forever
exclusively because of the lead actor. Unfortunately, the supporting cast doesn't give him much help.
Charles Gray isn't sinister enough as Blofeld (who, like his cat, seems to have nine lives). In fact, of the various actors to play this role, Gray's effete interpretation is the worst. Then there's Jill St. John, the first American Bond girl, who gives one of the most irritating female performances in a 007 feature. Norman Burton is immediately forgettable as Leiter, and Jimmy Dean plays Whyte like a buffoon.

Diamonds Are Forever's hallmark action sequence is an extended car chase that begins with 007
zipping across the Nevada flatlands in a moonbuggy and ends with him careening through the streets of
Las Vegas with a fleet of police cars in pursuit. There's also an enjoyable fight scene where Bond is
beaten up by two high-kicking women (Bambi and Thumper). The ending, while high on pyrotechnics, is
low on tension, bringing Connery's era to a rather dissatisfying conclusion. The actor deserved to go out
on a higher note, but his tenure as Bond provided enough moments of quality entertainment to eclipse
Diamonds Are Forever's final whimper.